#jonathan browning

A lit window with open shutters on an old house at night, Wuzhen ,China  -  Jonathan Browning

British, 

dose of design: Jonathan Browning Brings His Simple Silhouettes to RH Modern, Technicolor Stripes Brighten Up Spring’s Look, & Oscar Night Party Ideas!

Jonathan Browning Brings is Simple Silhouettes to RH Modern 

S.F.-based designer Jonathan Browning brings his modern edge designs to RH Modern, where you can find his stunning, simple silhouettes that include materials like leaded crystal, rosewood, bisque porcelain and bronze.

Technicolor Stripes Brighten Up Spring’s Look 

Technicolor stripes are packing a playful punch this spring and we are…

Chevaleret

By Jonathan Browning and Inlight

The Chevaleret sconce is the essence of elegance. A flawless leaded crystal ball balance in a hexagonal brass plane, suspended by hand machined brass chains. The LED illumination casts a clear white light through the sphere.

The first thing Jonathan told me when I met him for this interview was the story of his previous job at Starwood Hotels. As Head of Design in charge of developing six different brands for the St Regis, Sheraton and Westin among others, he felt that when trying to shop for an interior not all parts were equal. One could choose and pick from a vast selection of good furniture lines (“you could trip over them….there were so many”), carpets, wall coverings ( “brilliant people doing modern products”) and other objects that could lend a patrician look to the hallways, lobbies and rooms of the hotels in his care. One thing was missing: good lighting. Referring to it he says” It is as if someone has created this black hole, this pit. There was no quality to it”. 

Due perhaps to the indispensable and democratic nature of electric power, lamps have always tended to be utilitarian rather than aesthetically pleasing. They come in all shapes from street lamp posts or recessed ceiling lighting to simple bulbs and neon tubes. They all seem to have one thing in common: they are uninspiring if not downright ugly.

 Upon leaving Starwood lighting stuck out in his mind as a sore thumb. Literally his brain lit up. His decision to fill what he felt was a gap came to him instantly. And so began his new career. Was his choice made by his nose for business or his eye for art? He did not vacillate when answering: “It was totally art on my part. I was truly exhausted”. He added: ”My position was very demanding and I was going to do the thing that made me happy, the thing I love”.

 There is a quality to Jonathan’s enthusiasm that forces you to give him your full attention. He is precise and articulate and even his phrases reveal his perfectionist nature. In the search for that elusive quality missing in lighting accessories, he turned for inspiration to the Beaux Arts school. It provided him with the historical support to articulate his lighting creativity in a modern interior. He began collecting antique lighting early on and always admired the heaviness and solidity of those artifacts. “You touch them and you do not feel they are going to break. They just have a permanence”.

 When he surveyed the horizons at the beginning of his new career he found three distinctive types of product on the market: the high quality and superminimal (Artemide), (“If you want that look, ultra modern, that is fine but it is not for every room”), reproduction antique lighting (“designers and manufacturers looking back to the nineteenth century…and doing them in the most cost-effective production methods”) and antique lighting proper (“the challenge with this is that things do not come in multiples”). This shrewd commercial scrutiny led me inevitably to ask him where did he place himself in this hierarchy. Was there a Jonathan Browning category? He neatly sidestepped a direct answer: “When I decided to design this lighting line I said, I am simply going to design what I wish I had designed in my favorite era, which is the turn of the century”.

He deploys his skill as a raconteur when describing his fervor for this period : “ I took History of Architecture at school ( Jonathan attended the Southern California Institute of Architecture) from the Egyptian times to the present and when I got to the École de Beaux Arts I had a meltdown, I just went beside myself with the beauty of those buildings, specifically those of Claude Nicolas Ledoux…they are so harmonious! Not just stripped down classicism, he was striking this outrageous balance between detail and minimalism…” 

As a newcomer into a world where questions related to the materials employed, the physical making of the article or practical knowledge seem to matter, he chose to push them aside and keep his mind on the design. He emphasizes his total absence of marketing research, his financial illiteracy of the new undertaking. And you believe him. His enthusiasm is unfeigned. “I did not know how much my stuff would cost to make. That was a big surprise to me. I did not know how to make my designs. I was going to design a collection that reflected my two sensibilities which are my big passions, my loves in the history of design: one is the École de Beaux Arts and the other industrial design”. Jonathan admires the implacable rigor the French apply to the neoclassical style through that school so influential in the United States architecture at the end of the nineteenth century. He adds: “it was the invention of the machine to make things rather than man that produces this fabulous minimalism that I also love. I wanted to put these two esthetics together in the blender. I have no interest in reproduction lighting”.

 Luckily the foundry he found rendered his vision impeccably “It was a total happy accident. Their work is so exquisite, it has museum quality. Everything I did after that fell in the same category”

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Actors:

Jonathan Browning Ned Mochel Leslie McManus Scott Brick Roger McDonald Mariah Robinson Rob Wood Nicholas Lanier

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